Calypso Cascade, Rocky Mountain National Park

21-June-2008

Taken at 1/8 sec. with camera balanced on nearby log. Lightweight tripod for hiking arriving next week.

 

(Unrelated to blog article.)

 

 

It’s our flag too.

July 4th, 2008

Buying Myself a Birthday Present (10 years ago)

June 2nd, 2008

I wrote this article 10 years ago, when I turned 50. (Yes, that makes me more than 50 now.) It’s very widely read, and was even reprinted in the Singapore Business Times.

Back then I was in the middle of what I call my wristwatch phase. Others call it a disease: WAS (”wristwatch acquisition syndrome”) or WIS (”wristwatch idiot savant”). (Photographers who buy Nikons can get NAS, etc.). For me, the disease eventually ran its course, although I still like wristwatches. Haven’t bought one since 1999, though.

A few months ago I got this email:

I came across some old articles of yours and found your homepage, I remember your articles from TZ in the late 90’s as I was a regular there. I have noticed that you no longer write about watches. As a WIS in serious need of a cure, could you tell me how you did it?

My response:

Actually, I’m not sure what happened, but all of the sudden I totally lost interest in TimeZone and in watches, although I still love to wear the ones I have. (Explorer II on my wrist now.) Recently, I got an email from [a Hollywood producer] who wanted my Ventura watch, which he said was no longer available, and I sold it to him.

I guess I got on to other things (family, motorcycles, photography, tennis). Maybe the problem was that I was only interested as long as I was a buyer, but I reached my limit. Sure was a lot of money!

Anyway, hope you find your own cure or, if not, you have fun with this disease.

Take care…

Here’s the original article, exactly as I wrote it 10 years ago.


 

It’s my 50th Birthday today (June 12), I’m in New York for a little vacation, and I’ve decided to buy a nice watch as a gift to myself. I’m not sure I’ll succeed, but I’m pretty sure I’ll have loads of fun trying. I don’t want to get too extreme, so I set a budget of $20,000. No tourbillons, and I’ll have to adjust the date at least once a year.

I decide to start with the gift shop in the hotel lobby.

This isn’t as dumb as it sounds, because the hotel is the Waldorf-Astoria, and the gift shop is Cellini, probably the premier watch shop in New York. Even if they don’t deserve that position, everyone would agree that they have more good watches per square foot than anyone, by a very wide margin. Passing the small shop on my way to breakfast, I’d taken some notes on what I saw in the window: 51 Audemars Piguets, 50 IWCs, 47 JLCs, and 25 (yes, 25) Langes. They have room for all of this, and lots more, by skipping the usual Tag Heuers, Omegas, and Raymond Weills. They don’t have Rolex, but that’s the only high-end watch I can think of that’s missing.

Now, breakfast is over, I’ve got my umbrella and raincoat, because it’s raining outside, and my tools: an eye loupe, a fiberglass caliper, checkbooks, and credit cards. But, I’m not yet ready to hit the streets.

I head into Cellini a few minutes after 10. Of course, I am met at the door by a young man who asks if he can help me. "I’d like to buy a watch," I respond. He directs me to an intelligent-looking man standing off to the side, where the watches are. Philip introduces himself. I say, "It’s my 50th Birthday today, and my project for the day is to buy myself a nice watch." He wishes me a happy Birthday.

I’m wearing a JLC Reverso Duoface, and not by accident. I don’t want to wear a Rolex, because they’re much too common and don’t say anything at all about one’s taste in watches. I’m also afraid to wear anything even slightly obscure, such as my Zenith, which most salespeople have probably never seen, or my Ventura, which could easily pass for a Swatch. The Reverso is the perfect thing to get noticed by people who judge a man by his watch. Since that’s how I’m going to be judged today, I came prepared. Turns out this doesn’t matter in Philip’s case, as he knows a lot about watches.

We chat a bit about the Reverso, I tell him I’m from Boulder, where few brands are sold, even if you go to Denver. I tell him there are a few watches I’ve sort of decided on, but which I have never seen in person: An AP Royal Oak in tantalum and pink gold, and a Patek 5035. I quickly decide I don’t really want the 5035 today or any of the other Pateks that Philip shows me. I don’t want a dress watch, because that would mean I would rarely get to wear it, and today’s watch is a special one.

We focus on the Royal Oaks. The tantalum and gold one looks great, but it’s $15,000 or thereabouts, and I’m thinking, if I ever get into that range I’ll start looking at Langes, not Royal Oaks. What’s more, tantalum, which I am seeing for the first time, is a dead ringer for titanium, but many times heavier and more expensive. The watch looks just as good in stainless steel and gold, and even the all-steel version looks good. Philip shows me the new Royal Oak chronograph (a reasonable size and weight, not like the Offshore) and a dual-time version, but the automatic is good enough for me. I ask Phillip if he can weigh the tantalum and gold one, since I’m afraid it will be too heavy for me, and he asks someone to go to the mail room and weigh it. It turns out to be nearly 160 grams, which might be too much for me. (I know this because my Bell & Ross Space Two weighs that much, and it is too heavy.)

I’m also hesitant, because as much as I like the Royal Oaks, they just don’t look as good as they should for their price. Too industrial, I guess. But I still like them.

So I’m not ready to buy any Royal Oak yet, and I’ve seen them all. I’m not in the mood for a Blancpain, Breguet, or IWC. Some of the JLCs are exciting, but I’m wearing a JLC, and I want something I don’t already have. I ask about Hublot, but Philip says something disparaging, and it’s obvious why. They look OK in pictures, but terrible in the flesh.

Then I say, "You know, I’ve heard a lot about Lange, but I’ve never seen one close up. I never understood what the big deal was." With that Philip pulls a couple of Lange 1s out of the window, one in yellow gold with a white dial, and one in rose gold with a black dial. (It’s on the cover of Watches 1998 Annual.) Now I see what the commotion is all about! These watches are sensational, especially the black one. While I’m looking at the watch with my loupe Philip is talking about it. About the history of the company, the design of the movement, the way the jewels are held in, everything. Clearly he is very excited about the Lange 1, and I am, too. We talk about the Lange for a little while longer. I tell him that I think I can bring the watch down a notch, by which I mean make it less dressy. With a black dial and a more casual strap, I think I could wear the watch any time I want. The dial is so unusual that you can consider it anything you want to. I play with the date, which you set with a rather large button at the 10 o’clock position. (Except that that isn’t really 10 o’clock, since the main dial isn’t concentric with the case.) Philip pulls out a red string holding at least a thousand leather samples, and says that if I buy this watch he will have a custom strap made for me by Camille Fournet in France. Philip shows me elephant skin, which he says is legal because it dates from before it was outlawed. Can’t wear that in Boulder, I tell him.

I tell Philip that I’m very impressed, thank him for his time, and tell him that I have to visit some more stores, as was my plan. I tell him I’m staying in the hotel, so obviously I will return.

It’s 11:55. I put on my raincoat, making sure to cover the JLC, whose water-resistance rating is about 3 cm., and head across the lobby to the Park Ave. exit. I go north a few blocks, east to Madison, and start walking north to 57th street. I’m headed for the big Tourneau Time Machine watch store. I turn east onto 57th, start to look for Tourneau, and I’m already there. I peek into the windows a bit and head inside. I’m greeted right away here, too, but I don’t bother explaining much of anything. When I’m asked what I’m looking for, I say I want to look at the whole store, and probably end up on the 4th floor, where the good watches are.

But, I take my time, starting with the lower level. (I have to fend off a pushy salesperson every 5 min.) That’s where the cheap watches are–Swatch, Citizen, Fossil, Levi’s–as well as some pretty decent ones, such as Burrett and Revue Thommen. Also a museum, most of which is a big Tag Heuer ad for the movie Armageddon, and a few clocks that I think were borrowed from the Smithsonian. The museum is a joke. It proves only that Tourneau thinks their customers are morons. They should take it out and put in a Starbucks, or make it into a real museum.

On my way to the 4th floor I stop on the 3rd where the vintage (that is, used) watches are. I get an idea. I say to a very polite man, Michael, "I’m 50 today and I’d like to buy a watch exactly the same age I am." Michael moves to the middle of the line of cases and says, "Here is where the older watches are." I can’t resist teasing him, "Thanks a lot… we only just met and already you’re insulting me." Fortunately, Michael gets the joke and laughs nervously.

They have some watches made in 1948 or thereabouts, but I don’t like any of them. There are three problems, at least. I really want a new watch; the only good watches made back then, the ones to survive, were what we now call dress watches; and watches back then were too small. I like a watch that’s at least 37 mm. Besides, I’m not an expert, I don’t have any reference materials with me, and I have no intention of trusting Tourneau to sell me a used watch at a fair price.

I say good-bye to Michael and tell him I’m heading upstairs, but he tells me he’s going with me. He works both floors.

We go upstairs, and I tell him I’m looking at Pateks and APs today. No point mentioning Lange, which they don’t carry. I tell him I don’t want a Rolex or JLC (I have one of each), but maybe some others are in the running, and I can look at those too. And no sports chronos, as I already have several. Michael is very happy.

I look again at the Royal Oaks, but they don’t look any better than they did an hour ago. In fact, worse. Since I have spent the morning looking at very good watches (Pateks and Langes), the Royal Oaks are starting to look rougher and rougher. I notice something I somehow missed earlier: The tantalum and pink gold watch lacks the waffle pattern on the face, which I like a lot. Also, their Royal Oaks are pretty scratched up. One of them has a deep gouge, and should be sent back or moved to the 3rd floor. I conclude that Tourneau must get a huge number of lookers who don’t buy, and also that even the ones who buy don’t want to buy a Royal Oak, or they wouldn’t be sitting around long enough to get that badly scratched.

I ask about the Patek Neptune, and Michael pulls out one in steel and gold with a black dial (5080). It looks great! It’s dressy, but not overly so. I don’t have anything at all like it, and it’s one of the few Pateks whose looks I can stand. List is only $12,800, very reasonable for a Patek. I like the idea of getting my first, and probably last, Patek on my 50th birthday. Thinking of the Patek ads, I imagine my daughter (I have no son) wearing this watch. I’m now as happy as Michael, who is getting happier by the minute, because he thinks he’s going to sell me a watch, and on the 4th floor no less.

Since I might actually want the 5080, I try to start some deal making. "What is your absolutely best price that you can give me on this watch?" I ask. Because Michael seems a little inexperienced, I tell him to go talk to his manager, and I’ll wait. He doesn’t bother, and just tells me he can knock $1500 off. I quickly calculate that that’s only about 12%. Well, I say, I’ll think about it, and start to leave. Michael asks me where I’m going, and I tell him. He tells me that when I come back, and I’m ready to buy, he can do a lot better. In fact, he makes me promise to let him get the last word. I follow what he is saying: Tourneau will match whatever price I can get. To protect himself, Michael warns me about unauthorized dealers. I’m not a New Yorker, but I know the town well enough to get his drift. He doesn’t mind me walking a few blocks south to Wempe or Tiffany’s, but not all the way to 47th St. (The diamond and jewelry district, where you can get any watch for 35% off. Well, maybe not a Lange.) I haven’t been that specific with him, so I pretend not to know what an unauthorized dealer is. I get his card, shake his hand, and tell him I’ll return. It’s a real shame about Tourneau. They could have made this store really a lot of fun to be in, but instead it’s a real chore because of those pesky salespeople.

It’s 12:40. Still raining. I head east on 57th, figuring I’ll bump into Kenjo at some point. I know it’s closer to Carnegie Hall. As I cross 5th Ave. I notice the Piaget boutique a few doors south, and I decide to make a little detour. The doorman is abrupt. "Put your umbrella there," he commands. I look pretty casual in my yellow raincoat, made for hiking in Colorado. Obviously, his job isn’t to keep the customers out completely, just to intimidate them. But, he can’t intimidate me, so I ignore him and walk into the store where I meet a very nice, but cool, woman. I take off my raincoat, exposing my Reverso. I assume that watch salespeople are trained to look at the customer’s watches, and this assumption turns out to be right. I tell her I’m here to look for a possible Birthday present, and she warms up immediately (I think it’s 20% Reverso and 80% possibility of making a few bucks off me) and offers me champagne. I decline. We look at some watches, none of which leave their glass cages on the wall. Only one, the square classic one, is even remotely interesting. She points out that many famous people wear it, such as Frank Sinatra. I’m not sure if she means that he was buried wearing his, or if she is unaware of his departure. She also names Ronald Reagan, who at least is alive. At that point I say good-bye, retrieve my umbrella, and leave.

I round the corner to continue east on 57th and glance at the BVLGARI windows, where I see a very decent looking diver’s watch. And, it has actual numbers around the bezel, not BVLGARI spelled twice. But, no more detours. On to Kenjo.

I find Kenjo and peek in. It looks wonderful, but I’m hungry, so I keep on walking to a restaurant (Mangia, for you New Yorkers). I go upstairs because I need to sit and don’t want to fight the mob in the food court. I take my seat, order a glass of wine (a mistake, I guess, as I need to be alert) and an entree. I start to read the beautiful Lange catalog that Philip had given me. I read about the history of Lange, both the original company and the revival, and about the watches themselves. They are indeed very special. The one I like, with the black dial, is pictured. I’m starting to fall for it. It’s either that or the Patek 5080 with black dial. Wait a minute, I think to myself, you’re not buying a Lange 1. Don’t be silly… the Patek will do! And, I decide that it will, unless somehow the price of the Royal Oak drops by 50% in the next few hours. The problem, is, I don’t think I should buy a Patek or AP without checking my usual Internet sources, so if one of those is the choice, then I won’t buy my Birthday present today after all. So what, I think, it doesn’t matter. It was just a wild idea anyway.

Now that I’ve eaten I’m feeling much better, so I retrace my steps to Kenjo where I’m greeted by a very gruff man named Lee. He notices my Reverso immediately and comments on it, telling me that they don’t sell JLC, but they have lot’s more. He asks to see the Reverso reverse, and I oblige. I tell him I just want to look around the store. He lets me, sort of. He makes no attempt to actually interfere, but he keeps running to the back to bring out special items that "no one else has," a phrase he repeats at least 5 times in the space of 15 min. One of the items is a Breitling Emergency in a travel case complete with test unit and instructional video. Not the Birthday present I have in mind, I tell him.

Kenjo is amazing. They really do have lots of brands that no one else in New York has. Brands like Chronoswiss, Xemex, Van Der Bauwede, Tutima, Maurice Lacroix, Dubey & Schaldenbrand, Alain Silberstein, and lots more. I’ll buy myself one of these!

But, even after spending lots of time with Lee, who turns out to be really a fine guy, nothing quite jumps out at me. Really, a Xemex for my 50th Birthday? No, I think not.

I do see an Eterna Kon-Tiki with an orange (salmon, really) dial that I like a lot, and list is only a little over $2000. I ask Lee for his best price. He asks me what I usually get when I deal over the Internet. What did I get off for the JLC, he wants to know. I tell him 25%, which is the truth. OK, says Lee, I’ll give you 25%.

I am very close to just buying the Eterna right then and there. The only reason I don’t is that I’m not done yet. I haven’t been to Wempe, and I haven’t decided against the Patek 5080. I decide to buy two watches today, the Birthday present and the Eterna, and that makes me somehow feel more at ease. Deciding not to decide. But, no need to buy it right now, so I leave Kenjo.

Now I’m starting to get tired. I’ll go to Wempe, but I won’t try to buy a watch today. Too tired, too many choices, too many decisions to make, and not sure if actually buying today, here in New York, will get me the best price. Well, I tell myself, at least you tried.

The large windows at Wempe, a few blocks south on 5th Ave. are filled with watches, but they’re hard to see because of a scaffold covering the front of the building. I do see one interesting item, though: An aluminum case filled with 23 Omega moon watches, each celebrating a different NASA mission. Also, an extra movement in a plastic case, and even an eye loupe to look at it. It’s one of the few items in the window with a price tag: $65,000. Gosh, we don’t have things like that in Boulder, I think.

I go into Wempe, and am immediately turned off. There are hardly any watches in sight. They’re nearly all in the outside windows. Just little tables with soft chairs next to them. Just like, well, a 5th Avenue shop. Which, of course, Wempe is. I’m ignored for 5 min. while I look around the store, but there’s nothing to see. I’m about to ask one of the 4 or 5 people standing around to talk to me when Eugenia, a very pleasant woman (in her 50s, like me) greets me. Again, it is the Reverso that does the trick. (What a great watch-buying accessory! If you need to buy a watch in New York, maybe you can borrow a Reverso to wear.)

We have a long session with various watches that she retrieves from the window and puts on a felt-lined little tray. As I reject a watch it goes back into the window, and the candidate watches remain in the tray. So, eventually, the tray becomes my personal watch selection. They don’t have the Patek 5080 with black dial, only with white, and I don’t care for that version at all. Seeing it, I no longer want the black either. We talk mainly about Royal Oaks. I ask the price for the steel and gold version, and she quotes me one that’s about 9% off list. I don’t press her, because I’m not sure I want the watch at all, but I know that I’m never going to get Wempe anywhere even close to 20%, let alone 25%.

I ask to see a Lange 1, figuring that maybe everybody hates Langes, the company is in a panic, and they’ve told all their dealers to sell them as fast as they can at any price. Nope. She shows me one in white gold and then says the other one, in yellow gold, was just sold, not an hour ago, but I can still see it, although I don’t get to hold it. So, I guess not everybody hates Langes. She doesn’t have the black and rose gold one, which is the only one I would consider, and I don’t want to buy anything from Wempe anyway, even though the people are nice enough. I’m tired of watches for today. I am starting to hate AP, and don’t understand why I am still attracted to them. I don’t want the 5080 anymore, at least not today. Time to go.

I head on south. It’s about 4:20. I briefly decide to go to a museum for a little while just to rest, and then realize that’s silly, it’s already past four, and I’m much too tired. Apparently, I’m not even thinking straight any more. So, here’s the plan. I will call it quits, go back to my room to get cleaned up, have a nice dinner, and go buy the Eterna with the orange dial tomorrow for my Birthday present.

Burned out on watches, I head back to the Waldorf-Astoria. By the time I get to my room I’m perspiring all over, even though it’s pretty cool outside. I’ll stay in Colorado, I’m thinking, even though the watch stores are better here. At least the air is dry. I splash some cold water on my face, take off my shirt and wash the sweat off, and put the shirt back on. I look at my watch. Only 5:15. I should at least visit Philip for a few minutes. I take the elevator to the lobby and go into Cellini.

Phillip is sitting exactly where he was when I left him, only now he’s reading a computer magazine. He looks up. "Hi, Philip," I call out, as if I’m greeting a close friend. "You haven’t moved all day!"

"No, I was waiting for you," he jokes. He puts the magazine away and we chat for a few minutes. I rave about Kenjo, and tell him it really doesn’t compete with him at all, which it doesn’t. I tell him Tourneau has lots of watches, but isn’t really special, and that Wempe is very off-putting. We continue to talk. The conversation turns to TimeZone. Philip has interacted a bit on the public forum, and he knows of Richard, who’s he’s exchanged messages with.

Philip makes no attempt to ask me if I plan to buy a watch, and I don’t say I am, because I’m not. No watch today. Just two old friends talking.

There’s an awkward silence, mainly because it is my turn to talk and I failed to speak

One part of my brain has decided to call it quits and has shut down, and now the other part takes over and seizes control of my mouth. "Let me see the Lange 1 again, the black one." He takes it out of the window and puts it down.

I haven’t exactly jumped off the cliff, I’ve only just gone to the edge to look down. I can still step back and ask Philip to put the watch away.

I’m staring at the face of the Lange 1, which I thought was stupid when I first saw it on the cover of Watches, and which now I love. The Lange is staring back at the face of me. The Pateks, APs, and Eternas now recede, and the Lange 1 jumps into sharp focus. Its excellence overwhelms everything else I looked at today. If I’m going to buy a watch today, which I thought a few minutes ago I was not, it is going to be the Lange 1, or nothing. But, it is not going to be the Lange 1, because I am not buying a watch today.

Wait, you’re only 50 once, I tell myself. (When I once said something along similar lines to an Indian friend of mine, he responded, "Oh? You’re not Hindu?")

Should I jump, or step back? I jump.

"Philip, what’s the absolute best price you can give me for this watch?"

He tells me that he is not going to play games, he shoots straight. He quotes a price.

I’m momentarily shocked. It’s lower than I thought. Reasonable, even. Philip already knows he’s got me, he’s much too smart not to know this. Now he gives me a price that he knows is going to clinch the deal. Since I am falling off the cliff anyway, why not just give me an extra push, just to make sure?

"Well, you’ve just made it impossible for me to say no," I say. Which is my way of avoiding having to actually say yes. But I have said yes.

"OK," I say, "I’ll take the Lange 1." I take out two credit cards, because one is definitely not going to be enough, and Philip’s assistant takes them away. I tell them to ship the watch, so they won’t collect sales tax. I save roughly what I paid for my Breitling Aerospace. (Interesting comparison: an Aerospace is worth the sales tax on a Lange 1.)

Moving right along, Philip takes out that string of a thousand strap samples, and we pick a medium brown alligator that will be sewn with black thread. I hope that will turn the Lange 1 into a casual watch. I joke that if that doesn’t work, I’m going to put a sharkskin strap on it. It’s 5:55, and we are done with the strap.

The assistant returns with the charge slips, which I sign. It’s 5:58. Then a quick good-bye, because Philip says that if they’re not out of there quickly after 6 the police show up. He says I should return to chat some more tomorrow, and I can see my watch. I tell him I will.

Wow! I did it. I bought my Birthday present, and with two minutes to spare. Lange 1. Good choice, I think. The obvious choice. I could have stayed indoors today!

I head to Sir Harry’s bar to congratulate myself over a beer. The Lange goes into the Cellini safe. I’ll toast it with a glass of Scotch when I put it on my wrist next Tuesday.


Here are some other wristwatch articles I wrote, including my review of the Lange 1.

 

 

Why Johnny Can’t Print

May 11th, 2008

My title is a play on Why Johnny Can’t Read, a 1955 book by Rudolf Flesch that argued that schoolchildren should be taught to read with phonics instead of look-say or whole language. (Here’s a review of the book. It’s priced at $3, but only if you go back in time to 1955.) Educators continued to teach whole-language reading (and maybe still do) even though there was no evidence that it worked, and lots of evidence that it didn’t. What this has to do with printing is that most photographers try to print with a method that doesn’t work either, yet they keep doing it.

Here’s the recipe that most photographers use for printing a picture:

  1. Transfer the image from your camera to your computer.
  2. Adjust the colors and the cropping on your screen, using iPhoto, Photoshop Elements, IrfanView, Picasa, or whatever.
  3. Start up the printer and print the photo.
  4. If the colors aren’t quite right, which they probably aren’t, go back to step 2 and repeat. When you’re happy or ready to give up, stop.

Why doesn’t this work? Why the need for all those test prints just to get things right? Well, suppose you tried to make corn muffins with a recipe like this:

Mix together:

Some all-purpose flour
Some corn meal (somewhat less than the amount of flour)
Even less sugar
A couple of measures of baking powder
Milk, about as much as you drink when you’re not that thirsty
Not nearly that much vegetable oil
An egg

Heat the oven. Put the mix into a muffin pan and bake for a while.

Actually, my grandmother did bake this way, but she had been baking for decades before I even met her. I would fail if I tried this recipe, and then somebody would write a column on Why Marc Can’t Bake.

Everybody, even if they’ve never baked, knows what’s wrong with the recipe: The measures are missing! But nobody (other than serious amateurs and professionals) seems to see that that’s true of the printing recipe, too: The measures are missing.

OK, it’s not that obvious that the printing recipe is lacking the measures, so we have to peek beneath the surface. Most photographers do know that an image is digital, meaning that it’s a file of numbers. Each pixel (picture element) is represented by three numbers: The amount of red, the amount of green, and the amount of blue. A typical image has around 5 - 10 million pixels.

I actually already revealed the problem when I said “amount of” red, green, and blue. That’s just like saying “some” flour or “a couple of measures” of baking powder. In digital images, amount means percentage. For example, one pixel might be 61% red, 23% green, 74% blue. It seems that 61, 23, and 74 are precise, which they are, but the problem is, percent of what? And the answer is: Percent of the full amount.

For the image file itself, as it came from the typical camera, “full amount” actually has a meaning. It’s defined by a standard that’s known as sRGB. But, when those same numbers are sent to the display so you can see the image and start making adjustments, “full amount” means “full amount that your display can show”, and your display doesn’t follow the standard. It just displays whatever its electronics happen to do with the numbers. You’ll understand what I mean if you look at all the TVs in a big electronics store. The TV colors are all over the map, and so are the displays on all the computers they sell, including yours. Your “full amount” is no more standardized than your oven temperature if you twisted the dial without looking.

So, what you’re doing when you adjust the colors in your photo editing app is setting them to whatever looks good on your display. Where that actually leaves them is unknown.

Then you take this randomly-set image file and send it to your printer, which is more standardized than your display, but not enough to make really good prints. Inkjet printers are pretty stable, and don’t vary nearly as much as displays. They’re even set to sRGB, but actual colors vary with the paper (glossy or matte, paper color, etc.), and, believe it or not, the printer has no idea what paper is loaded into it.

(Advanced photographers sometimes use standards other than sRGB, but the point is that there is a standard, not what it is.)

In short, you take a standardized image (sRGB), adjust it to match an out-of-adjustment display, and send the result to a printer that’s set to some third set of colors. And that’s why Johnny can’t print.

Anyone who’s ever baked can say how my corn muffin recipe can be fixed: Specify the measures, and say how long to bake them and at what temperature. Same for the printing mess: Calibrate the display and, if you can’t get it to sRGB (normally, you can’t), construct a profile that specifies exactly how it’s off. Same for the printer: Get a profile that specifies how far it’s off from the standard for a particular paper.

Then, whenever you view an image on the display, adjust the numbers (remember the 61,23,74 example?) so the same color, but maybe with different numbers, shows on the display. When you print, adjust the numbers again so that the right color comes out on the printer.

Of course, you don’t make these adjustments—the software does. It’s called color management. Adjusting colors and printing with color management is analogous to baking with measurements. Not using color management gets you bad prints, just like sloppy baking gets you bad corn muffins (something between corn soup and corn bricks).

Are you willing to print with color management? If you are, here’s what you need to do:

  • Buy and use a display calibrator, which is a hardware device that lays on your screen and reads the actual display colors so the calibration software can tell what they are, make the appropriate adjustments, and prepare a profile that specifies the deviations from the standard. Fortunately, prices have come way down for calibrators. Here’s one for $60: ColorVision Spyder2 Express Win/Mac. If you follow the link and read the comments on the Amazon site, you’ll see that there are some very dissatisfied customers. Using a calibrator is a little tricky, and they didn’t get it right. (Turn off all the lights, turn off all automatic screen savers and dimmers, don’t run any other apps, and tilt the display way back so the calibrator stays put.) You can’t save money by calibrating by eye using a software-only utility. Here’s why.
  • Get a printer profile for your printer, ink, and paper. The easiest way to do this is to use the manufacturer’s ink and paper and download the profile from its website. I know that Epson is very good about this; other major manufacturers probably are, too. Generally, you’ll find profiles only for fairly-serious photo printers costing $200 or more, not for the cheapest printers and all-in-ones.
  • Use a photo-editing app that does color management. On the Mac, many, if not most, do. Examples are iPhoto, Pixelmator, Lightroom, Aperture, Photoshop Elements, and, of course, Photoshop. On Windows, the norm is not to do color management, but you’re OK if you use any of the Adobe products. (My understanding is that popular free Windows apps like IrfanView and Picasa don’t do color management, but check on the latest developments for yourself.)
  • When you print, make sure about 25 different poorly-documented options are set correctly, or else your attempt to use color management will backfire and you’ll get worse results. There’s essentially zero cooperation between computer makers, OS venders, photo-editing app publishers, and printer manufacturers to make this situation any better. To its credit, Epson does a good job of telling you exactly what to do in its user’s manuals, which, unfortunately, probably aren’t widely read by printer owners.

(Last August I wrote an article on how I print with color management.)

So, are you willing to do what needs to be done? If you’re not, I completely understand. Maybe you’re not alone, and that’s why photo printer sales are actually going down.

Sorry if I wasn’t able to help you print. But, at least now you know why Johnny can’t and you can’t either.

Looking at a Real NEF Bayer Pattern

May 7th, 2008

(Article updated 8-May-2008 to reflect version 1.1 of the app: The Lighten checkbox makes images even lighter, and there’s a new demosaicing method, explained below.)

Most raw files contain data from a sensor arranged to record the image in a Bayer mosaic: Each pixel is a value of either red, green, or blue, and you get the image by demosaicing—using interpolation of some sort to generate color values at each pixel location.

(There’s a pretty good Wikipedia article on Bayer patterns.)

Diagrams are nice, but I wanted to see a real pattern, from a real image. So, I wrote a little app that shows exactly that. Here’s a sample image zoomed so far in (much farther than 1:1) that you can see the actual pixels in the Bayer mosaic:

What the program does to display the Bayer pattern is:

  1. Read the raw image data from a NEF file.
  2. Build a bitmap where either the red, green, or blue component for each pixel is taken from the associated data value, depending on which cell of the Bayer array it is. Only one component gets a value; the other two are zero.
  3. Display the bitmap as you see above. The zoom checkbox was checked so individual pixels (red, green, or blue, with half of them green) can be seen.

Here’s part of the image unzoomed, at actual size (1:1):

There are lots of ways to do demosaicing, but the simplest is called “nearest neighbor”. For each pixel, you get the two components it isn’t (e.g., red and blue) by taking the average of surrounding pixels. Here’s the image demosaiced; as you can see, the color balance is still way off:

[8-May-2008 update] In the newest version of the app (1.1), I’ve added another variant of nearest neighbor that reduces the value of the green component by half to make the image less green, which serves as a crude color balance:

There’s also a grayscale choice, produced by taking the single component and setting the other two to the same value:

If you’d like to play around with this little app, you can download a copy for free (Mac only). Don’t worry if you don’t have a NEF file to open, as the app will automatically open one that’s built in to it.

New Blog Site

April 29th, 2008
This is my new blog site, now running WordPress instead of my own software. The RSS feed should now work correctly, there's a search feature, and you can now leave comments. At the top is a picture-of-the-week, changed when I get around to it, that has nothing to do with any of the blog articles. It's just one of my shots that I like.

The old site is still there, but only to hold the older blog articles. It won't get any new material.

My other sites, notably ImageIngester.com and Advanced UNIX Programming aren't affected by this change.

Digital Photography on the Web

April 28th, 2008
This is a review of some digital photography web sites. I'll update it periodically.

This is not a list of my favorite sites, although all of my favorite sites will eventually be on it—some of my reviews are negative. A few of the best sites are listed first, but other than that they're in no particular order.

Here's what characterizes a good site:

  • Timely, accurate, well-written, in-depth content.
  • Frequently updated.
  • Mostly the work of one or two passionate individuals. (Examples: Michael Reichmann, Michael Johnston, Uwe Steinmueller, Peter Krogh.)
  • If there's a forum, people use their real names and conduct themselves professionally.

A site that's infrequently updated isn't bad, just increasingly irrelevant as the technology changes. A site with wrong information and bad advice is worse than irrelevant—it's actually harmful. A couple of sites listed here, Ken Rockwell and Slashdot, can be harmful if you're not careful.

With a few exceptions I won't cover sites that are mainly discussion forums. Many of them are valuable for tracking down problems with specific pieces of equipment, but mostly they're a waste of time ("Any thoughts on what Leica will do in the M9?"). And, of course, believing some random poster can be hazardous. (OK, I admit that late at night I do sometimes enjoy wasting time.)

If you have any thoughts on anything here or any suggestions for sites I ought to include, please leave a comment. If you don't want it posted, just put the notation "don't post" in it.

The Luminous Landscape

www.luminous-landscape.com

This is the best digital photography site on the web. It's run by Michael Reichmann, who writes most of the articles, although many of them are guest pieces written by other experts (e.g., Alain Briot, Andrew Rodney).

Reichmann also appears in videos that you can download; all of the half-dozen or so that I've seen are terrific. Some are part of his video journal, while others are tutorials, the best of which is From Camera to Print, with Jeff Schewe. (It taught me how to print, as I blogged about here.) Their newest tutorial is Guide to Adobe Camera Raw, which I'm viewing now, and it's great, too.

The articles, which appear once or twice a week (less often when Reichmann is on one of his photography adventures) are outstanding. Some examples are:

Understanding Bit Depth (Michael Reichmann)
Colour Theory as Applied to Landscape Photography (Michael Reichmann)
Understanding Depth Of Field (Michael Reichmann)
Understanding Exposure (Michael Reichmann)
Focusing In The Digital Era: Part One and
Part Two (Gary Ferguson)
Understanding Histograms (Michael Reichmann)
Photography and Backpacking (James Chow)
Digital in the Desert (Scott L. Robertson)
Crimson Moon: Photographing A Total Lunar Eclipse (Michael Reichmann)
Auto Racing Photography (Lee Carney)
Getting Started with Digital Panoramas (Joe Beda)
What's the Problem Color Management is Trying to Solve? (Ray Maxwell)
Understanding Camera Movements (Michael Reichmann)
Understanding Lens Contrast And the Basics of MTF (Mike Johnston)
Understanding Polarizers (Michael Reichmann)
Understanding Digital SLR Sensor Cleaning (Michael Reichmann)
Photoshop Curves (Miles Hecker)
Understanding Digital Blending (Michael Reichmann)
Merge to HDR in Photoshop CS2 (Michael Reichmann)
Masking by the Numbers (Glenn E. Mitchell II,)
Tough Selections Made Easy (Charles Cramer)
Printing to a Press (Andrew Rodney)
Scanning with Silverfast (Mark Segal)
Matting: The Why & How of Matting Photographs (Alain Briot)
Shipping Your Photographs (Alain Briot)
Selling Your Photographs (Alain Briot)

To get to the articles, click on the headings Columns, Essays, Locations, Product Reviews, Techniques, Tutorials, and Understanding Series that appear in the left margin on the site.

There's a forum, too, in which Reichmann, Schewe, and other well-known people sometimes post. Here's my favorite reply from Reichmann to a post about shooting JPEG instead of RAW:

If in the days of film you used to take your client's images to the local drug store, have prints made there, and then watched while the kid behind the counter cut up the original negatives with a pair of scissors and threw them in the trash, by all means shoot JPG on your next commercial assignment.

Schewe once posted:

Ken Rockwell should be drawn and quartered...

Which I agree with (see below), assuming Schewe was speaking figuratively.

The Online Photographer

theonlinephotographer.com

This is Michael Johnston's blog on photographic art, philosophy, technique, equipment, and other matters, updated on average at least once a day. Some of the articles are by guest writers, including me. (Full disclosure: I also advertise on this site.)

Unusual for blogs, the comments (moderated by Johnston) are worth reading, too. (Some of those are mine, too.)

Digital Outback Photo

www.outbackphoto.com

This excellent site is about "Fine Art Photography in the Digital Age". It's mostly written by Uwe Steinmueller, with help from some distinguished contributing editors (such as Alain Briot).

The site emphasizes up-to-date information over formality, so new cameras are covered by diaries that Steinmueller and others add to as thet go about using the camera. The news page is updated daily.

There's a large collection of in-depth articles, many of which are on advanced topics that are covered nowhere else, like:

Why Use the ProPhoto RGB Color Space?
Avoiding Parallax while Stitching with Shift Lenses
"High Speed HDR" and Tonemapping (with Bettina Steinmueller)

(Full disclosure: Uwe Steinmueller and I have talked about collaborating on some articles, so I am a potential contributor to the site.)

diglloyd

diglloyd.com

Lloyd Chambers updates his blog here a few times a week, often with insights that go deep into the technology. Chambers's writing is notable for its rigor and objectivity. For example, in Feb. 2007 he switched from Nikon to Canon because, with the Canon EOS 1D Mark III, he decided that Nikon had fallen too far behind. That was before Nikon announced its latest D3 and D300 bodies, however, and he's now working on a review of the D3, which he'll surely charge for, but you can read his incremental reports for free.

Chambers makes his money from the books and reports he sells (and from advertising), but many valuable articles are free, such as:

Star Focusing and Circular Blobs
All About Apple Mac Pro Memory
PC or Mac—Making a Sensible Choice
Hard Disk Drives
Firewire and USB Card Readers
Noise and Multiple Exposures
Printing on Canvas

His reviews are incredibly detailed. A good example is one he used to charge for that is now free (because it's out of date): D200 vs D2x.

Rob Galbraith

www.robgalbraith.com

News items every day, some of which seem to be exclusives, and a few excellent articles a year, mostly about equipment. I understand it was Galbraith who first wrote about a focusing problem in Canon's 1Ds Mk III, thereby putting pressure on Canon to fix the problem. Some other articles:

The Nikon D3 from ISO 200 to 25600
A look inside Nikon's Sendai digital SLR factory
Italian fresco captured in 9.85 Gigapixel photo

Galbraith's site won't make you a better photographer (unlike, say, The Luminous Landscape or Thom Hogan), but it will keep you informed.

LightroomNews

lightroom-news.com

An excellent site for Lightroom news, run by Martin Evening and Jeff Schewe, and owned by Pixel Genius, the people who created PhotoKit Sharpener (which I use). Contributors include Ian Lyons, Sean McCormack, Seth Resnick, Andrew Rodney, Mike Skurski, Russell Brown, Mac Holbert, and Michael Reichmann.

The site publishes original material, not just headlines picked up from somewhere else, such as a recent article about the departure of Mark Hamburg, formerly chief architect of Photoshop and, more recently, head of the Lightroom team (written by Martin Evening).

There are feature stories, too, such as one on sharpening and one on Thomas and John Knoll.

PhotoshopNews

photoshopnews.com

PhotoshopNews is run by many of the same people who run LightroomNews (see above), and is also owned by Pixel Genius. It's an authoritative site for anything new with Photoshop.

In addition to news items, there are excellent original articles, too.

John Nack on Adobe

blogs.adobe.com/jnack

Nack is Senior Product Manager for Adobe Photoshop, and his blog, updated almost daily, often has inside information that no one else is reporting. Won't improve your photography, but will help keep you up-to-date.

George Jardine

www.mulita.com/blog/

George Jardine is a photography evangelist for Adobe who creates videos podcasts that you can download for free, from his site or on iTunes.

Some recent tutorial topics were "Subjective Color Correction" and "The Synchronize Command". Others are on various subjects, such as interviews with photographers Gregory Heisler, Gerd Ludwig, and Catherine Hall.

Thom Hogan

www.bythom.com

Hogan is best known for his thorough Nikon guides, which he sells on his web site (CD only; no downloads), but he also has lots of free material, the best of which isn't Nikon specific. Hogan's articles are always well-written, thoroughly researched, field-tested, and rigorous. He keeps them up-to-date, too.

I have his D200 guide, and it's excellent.

Some samples:

Serious Support
Getting the Pixels Right
Thom's Quick & Dirty Guide to RAW
Thom's Quick & Dirty Guide to Color Management
Tip of the Iceberg
Carrying 101
Thom's Equipment of Choice
You'll Get a Charge Out of This
Filtration 101
Cleaning your Sensor
How Big Can You Print?

Hogan believes that if you've spent money for a good body and lens, you should put the camera on a tripod, use a low ISO, shoot raw, and take the trouble to focus and choose the best aperture. It seems obvious, but he writes about it anyway, and after reading what he writes you promise yourself you'll actually start doing it.

Ken Rockwell

www.kenrockwell.com

I'll put Rockwell right after Hogan (see above) because Rockwell believes that you should not use a tripod, should use a high ISO, and should not shoot raw. He's wrong about a lot more than that, too. I think Rockwell must have taken one of Hogan's workshops with his ears set to some weird inverse mode.

Rockwell's best known article is Your Camera Doesn't Matter, yet he writes almost exclusively about equipment and always shoots with the newest model, frequently bragging about how many images he's taken, mostly it seems snapshots of his son, printed at Costco.

Here are some of my favorite Rockwellisms:

"Tripods are no longer required, and actually often degrade sharpness..."
Digital Killed My Tripod

"Adobe RGB is irrelevant for real photography. sRGB gives better (more consistent) results and the same, or brighter, colors."
sRGB vs. Adobe RGB

"Image quality is the same in JPG and raw."
JPG vs Raw: Get it Right the First Time

There's no denying that Rockwell can write, but that's like saying that Rush Limbaugh can talk.

You'll want to read Rockwell's articles just for fun—don't take anything he says seriously. You probably already know how to take JPEG snapshots and get them printed at Costco.

Strobist

strobist.blogspot.com

This is David Hobby's blog, who says: "This website is about one thing: Learning how to use off-camera flash with your dSLR to take your photos to the next level."

Scott Kelby (The Digital Photography Book, Vol. 2) calls it "the #1 site on the Web for flash enthusiasts". I haven't looked at it much, but Kelby is rarely wrong.

Digital Photography Review, Steve's Digicams, and Imaging Resource

www.dpreview.com, www.steves-digicams.com, and www.imaging-resource.com

These are the big three review sites. If you're looking to buy a new digital camera you'll definitely want to read what they have to say, but there's so much detail that it's hard to know what to make of it. Is a camera that offers four JPEG quality settings better than one that offers only three? Is it a problem that when the Panasonic DMC-LX1 was upgraded to the LX2 they didn't reformat its menus to fit the wider screen? I would say "you decide", but you can't, can you?

It's hard to write a meaningful review when the target audience includes everyone at every level of expertise. One of the sites downgraded a camera because of its overly-aggressive noise reduction at higher ISOs, which can be bypassed only if you shoot raw. Since I was interested in the camera mainly because it was one of the few pocketable digicams that can shoot raw, I didn't care about the issue.

I think the best way to use these sites is to get the facts from the reviews, but to ignore the ratings, since they're based on a scale that may not matter to you.

Another problem with these reviews is that they get so wrapped up in fine distinctions in image quality between small-sensor digicams that one can forget that, as a class, they're all inferior in image quality to DSLRs with APS-C-sized sensors. (See my own buying guide.)

Aside from its reviews, Steve's Digicams has a monthly column by Mike Chaney that's worth reading.

DP Review doesn't seem to have any articles at all other than its reviews. Imaging Resource has some, but many of them haven't been updated since 2001. (Example: "For most of the trip, we left the 256MB Lexar card loaded in the Nikon D1x, one of the 96MB cards loaded in the Dimage 7, the 64MB card in the Coolpix 995, and we held the second 96MB CF card in reserve for use in whichever CF-equipped camera needed it.")

photo.net

http://photo.net/

photo.net is probably the oldest photography site, older even than digital photography. Its forums are some of the best and most active (I especially like the digital darkroom forum). Unusual for the web, posts are usually signed with the author's real name, and the discussions are polite and professional.

There are articles, too, mostly written by Philip Greenspun who started the site (and wrote the forum software it uses). They're all worth reading, even though many of them are way out-of-date ("Digital Sepia Toning Made Easy using Photoshop 6"). New articles and updates are rare, but they do show up (one is dated March 2008).

The DAM Forum

thedambook.com/smf

This forum discusses issues related to digital asset management (DAM). It's run by Peter Krogh, author of the definitive book on the subject, The DAM Book. (Peter also conducts DAM workshops.) An outstanding feature of the site is that Peter himself is likely to answer your questions.

The discussions are polite, professional, and informative, and everybody uses his or her real name. (If they don't, they get a gentle but firm reminder from Peter.)

One of the forums on the site is about ImageIngester and serves as the semi-official ImageIngester forum. I check it every day and answer any questions posted there myself.

Reid Reviews (Sean Reid)

www.reidreviews.com

This is a subscription-only ($32.95/year) site where Sean Reid publishes articles and reviews, mostly about equipment, about once a month. With so few articles, his coverage isn't wide, but it is deep. He had the most complete coverage of the Leica M8 by far, for example.

Reid's emphasis is mostly on rangefinders and lenses for them, but he does occasionally cover other cameras (his only recent Nikon review was on the D200).

One annoying thing about the site is that it uses Adobe Flash, which (on a Mac, anyway), means that the text size can't be changed and you can't use the scroll wheel. (He's starting to address both problems.)

Jeffrey Friedl's Blog

regex.info/blog

Friedl isn't a great photographer, but his photo blog is updated with more new material every day than anyone else's. It's mostly pictures of his neighborhood in Japan, his occasional travels, and, especially, his young son, with some text that teaches you a bit about Japanese history and culture, too. For example, his most recent blog article is about how his mother-in-law makes soup. The pictures of soup bowls will never make the cover of Martha Stewart Living, but are fun to look at anyway.

The real value of the site is a few technical articles Friedl has written, the best of which is Digital-Image Color Spaces. He's also the author of several Lightroom export plug-ins, and the inventor of a technology he calls it "piglet" for building them, and of a nifty utility for examining the EXIF info (and more) of any photo you see on the web. (Readers who are computer programmers will appreciate that Friedl wrote an entire book on regular expressions, which shows how thorough he is about everything.)

(Message to Jeffrey: Instead of spending hours a day on your blog, how about just once a week and more technical articles?)

Wirehead Arts (Ken Wronkiewicz)

www.wireheadarts.com

Ken Wronkiewicz is a software engineer turned photographer. His quirky, but always interesting, blog mixes art and science, as in this excerpt:

I realized that part of this was a programming problem. See, I discovered that the sort of logic that I wanted to program in was just getting too obnoxious when written in assembler language. So I sat down and rewrote the firmware in C one day. I had targeted it for the scheduled session with one particular model, who turned out to be a drama-queen flake... so it was not until a bit later that I actually got a chance to use it.

I'm sure Wronkiewicz is the only guy programming in assembler who has to break away to shoot nude models.

Daily Walks

dianevarner.com

Varner takes daily walks with her camera and posts a photo on her blog once a week or so. It's a reminder that I should be (1) taking daily walks and (2) carrying my camera with me more often.

B&H and Adorama

www.bhphotovideo.com/ and http://www.adorama.com/

Like thousands of other people, I've dealt with these two outfits for years. Prices and availability occasionally differ, so it makes sense to check them both before buying anything. They both have great customer service, including returns.

I use these sites to track down what current products are available, even when I'm not planning to buy.

If you get to New York, don't miss the giant B&H store a couple of blocks west of Madison Square Garden. Adorama has one in New York, too, but I haven't been to it.

Slashdot

slashdot.org

Shashdot is about computer stuff in general, not specifically digital photography.

Don't spend any time on Slashdot without first understanding how it works and how it doesn't:

  • Somebody contributes a news item, usually referring to an article posted elsewhere.
  • There's a brief summary of the article or issue, sometimes misleading because the contributor is biased.
  • Readers make hundreds of comments, nearly all of which are ignorant, insulting, off-the-point, illogical, biased, or unintelligible. Or more than one of those.

The way to get anything useful out of Slashdot is to check the recent links and to click through to the article, ignoring the summary and the comments.

Some of the items are really wacky, such as this one from earlier this week:

Party Ideas For Math Nerds?

rbf writes "A girl I like at my university, a graduate student in mathematics, will be having a birthday next month. She had thought of throwing a nerd-themed party — show up with tape on your glasses, pants hiked up, etc. However, she decided against it because most of her friends are math nerds and wouldn't even have to dress up! So my question for the community is: What fun party ideas would appeal to a group of mostly math-major nerds?"

But most of the items are pretty solid, as long as you don't pay too much attention to the summary and ignore the comments.